The sociable ghost : $b Being the adventures of a reporter who was invited by the sociable ghost to a grand banquet, ball, and convention under the ground of old Trinity churchyard. A true tale of the things he saw and did not see while he was not there.Harper, Olive
Science
The sociable ghost : $b Being the adventures of a reporter who was invited by the sociable ghost to a grand banquet, ball, and convention under the ground of old Trinity churchyard. A true tale of the things he saw and did not see while he was not there.
Harper, Olive
American fiction -- 20th century; Ghost stories
Here the floor manager bowed and retired. The Captain proved to be the
ghost who had brought the young man down here, and he took his place
while the invisible music burst forth with a strong rush of sound that
reminded the young man of the winds and waves in a storm at sea. The
ghost began in a deep bass voice:
“With a hey and a ho for the white sea horses, Plunging and tossing on
ocean's crest; With a hey and a ho for the warning they give us, The
sailor's heart sinks low in his breast. They fight fierce battles there
in the water, Till the surface is covered white with foam, The waters
toss and are churned to lather That touches the edge of heaven's dome.
Deep in the depths the shadows thicken, As gather the sharks from down
below, And high in the heavens the storm clouds hover, As prancing
fiercely the white horses go. Then in the black darkness we hark to the
breakers, Dashing upon the bleak rocks their foam, Beaten to froth by
the white sea horses, And none of the sailors reaches his home.”
As this song was finished there was a regular salvo of applause, and in
more ways than one, for the clapping of the fleshless hands was like the
cracking of musketry. The ghost seemed to be pleased by the evident
appreciation of his efforts, and sauntered over to the young man who
expressed his pleasure so warmly that even an opera singer would have
felt satisfied with such approbation and he requested permission to copy
down the song, for sung in a grand and sonorous basso it had seemed to
be a fine one.
When the last few desultory claps of applause at this song had died away
the floor manager called out:
“Take your partners for a quadrille.”
In a minute there was such a bustle that the newspaper man could
scarcely hear himself think, but soon the sets were formed, and the
whole immense place was filled with dancers, all in sets for quadrille.
The music changed at the right moment, and the floor manager called out
in stentorian tones:
“Salute your partners.” And they all bowed in the regulation manner.
Considering the almost universal poverty of wearing apparel, the ghosts
danced and made a graceful appearance. There was scarcely enough cloth
in good condition to have made a dress, but that fact did not seem to
strike them as worth consideration. The manager cried:
“First two forward and back, cross over, balance to your partner, back
to your place, all promenade.” Continuing he led them through all the
mazes of what he called allemand right, allemand left, all sashay, and
so on until the whole was finished.
All the ghosts appeared to enjoy the free movement of the dance and to
them it mattered little if the usual attire for such functions was
conspicuous by its absence. The young man thought that as they had
ghostly food and drink, furniture and decorations, perhaps they imagined
their clothes as well. Then he suddenly remembered those tables. It
struck him as curious that they had come and disappeared like things in
some fairy tale.
Public-domain text, read in full here on John Shaqi.
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